One of his most famous comments is that the " tactus ", the tempo of a semibreve, is equal to the pulse of a man who is breathing quietly & mdash; presumably about 72 beats per minute.
32.
These different permutations were called " perfect / imperfect tempus " at the level of the breve semibreve relationship, " perfect / imperfect prolation " at the level of the semibreve minim, and existed in all possible combinations with each other.
33.
The division of the semibreve into minims was called " prolatio ", that of the breve into semibreves was called " tempus ", and that of the longa into breves was known as " modus ".
34.
The division of the semibreve into minims was called " prolatio ", that of the breve into semibreves was called " tempus ", and that of the longa into breves was known as " modus ".
35.
The tempo of MM120 suggested at the start of each of Goolsby's trials appears to be slow for tackling the given melodies, which contained many semibreves and minims, and there may have simply been insufficient pressure to produce significant results.
36.
Beginning with Franco of Cologne, the same pattern was also applied between breves and semibreves, and finally, with Philippe de Vitry's theory of the Ars nova, it was taken yet another level down, to the newly introduced minims.
37.
Normally, a note was imperfected by one of the next smaller order, e . g ., a breve ( B ) by a semibreve ( Sb ), and thereby lost one third of its own nominal value ( ex . [ a c ] ).
38.
He also refined the use of semibreves : while in earlier music, one breve could occasionally be replaced by two semibreves, Franco described the subdivision of the breve as ternary ( perfect ), dividing it either into three equal or two unequal semibreves ( resulting in predominantly triplet rhythmic micro-patterns .)
39.
He also refined the use of semibreves : while in earlier music, one breve could occasionally be replaced by two semibreves, Franco described the subdivision of the breve as ternary ( perfect ), dividing it either into three equal or two unequal semibreves ( resulting in predominantly triplet rhythmic micro-patterns .)
40.
He also refined the use of semibreves : while in earlier music, one breve could occasionally be replaced by two semibreves, Franco described the subdivision of the breve as ternary ( perfect ), dividing it either into three equal or two unequal semibreves ( resulting in predominantly triplet rhythmic micro-patterns .)
